Marc Jacobs Spring 2012: Ready for Dior..and All That Jazz

Even though the anticipation of waiting for Marc Jacobs nearly killed us after he postponed his show due to Hurricane Irene--it's fitting that he showed last. Because not only does Marc Jacobs consistently present one of the best and most important collections each season (in terms of setting trends), but he also really puts on a show.
And last night, Jacobs literally put a show. A heavy gold curtain parted to reveal a full cast of models draped Fosse-style over wooden chairs across the length of the stage (think of the "Cell Block Tango" number from Chicago or A Chorus Line)--and you could actually hear the audience gasp ('Are they going to dance? Sing?' we hoped). Earlier that night, Jacobs' sent out an urgent email canceling all backstage beauty press due to "a very long technical rehearsal" and now we understand why. The show was intricately choreographed, with models exiting the Broadway-esque tableau at precise times to walk the stage, which was set like a dance hall in a barn--a simple wooden frame lined with bulbs bisected the runway. And in another nod to Fosse, Jacobs, clad all in black (he was even wearing jazz pants), crouched behind his models, clapping along to keep time and give his dancers models cues--and all of it to a Phillip Glass soundtrack of voices counting to eight over and over--standard for choreography.
It was as if Marc was winking at us, taking the stage because he knew he was at the center of it as the name on the tip of everyone's tongue to succeed Galliano at Dior. Jacobs told WWD that taking the job at the storied French house “has nothing to do with salary. I mean, I’d be honored to do Dior. But I work with a team, and I’d like to be able to keep working with them. I think it would be really exciting. I wouldn’t be able to say no.”
But we should talk about the clothes.

Even though the anticipation of waiting for Marc Jacobs nearly killed us after he postponed his show due to Hurricane Irene--it's fitting that he showed last. Because not only does Marc Jacobs consistently present one of the best and most important collections each season (in terms of setting trends), but he also really puts on a show.

And last night, Jacobs literally put a show. A heavy gold curtain parted to reveal a full cast of models draped Fosse-style over wooden chairs across the length of the stage (think of the "Cell Block Tango" number from Chicago or A Chorus Line)--and you could actually hear the audience gasp ('Are they going to dance? Sing?' we hoped). Earlier that night, Jacobs' sent out an urgent email canceling all backstage beauty press due to "a very long technical rehearsal" and now we understand why. The show was intricately choreographed, with models exiting the Broadway-esque tableau at precise times to walk the stage, which was set like a dance hall in a barn--a simple wooden frame lined with bulbs bisected the runway. And in another nod to Fosse, Jacobs, clad all in black (he was even wearing jazz pants), crouched behind his models, clapping along to keep time and give his dancers models cues--and all of it to a Phillip Glass soundtrack of voices counting to eight over and over--standard for choreography.

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It was as if Marc was winking at us, taking the stage because he knew he was at the center of it as the name on the tip of everyone's tongue to succeed Galliano at Dior. Jacobs told WWD that taking the job at the storied French house “has nothing to do with salary. I mean, I’d be honored to do Dior. But I work with a team, and I’d like to be able to keep working with them. I think it would be really exciting. I wouldn’t be able to say no.”

But we should talk about the clothes. Because they were great. In keeping with All That Jazz, the clothes had a '20s vibe (an era Ralph Lauren drew from earlier that day). Looks were drop-waisted and dresses and skirts had flapper-ish fringe, which, according to the line sheets, was made of film. While "the return of the dress" has been heralded lately, Jacobs showed mostly separates--smart, below-the-knee-length voluminous skirts done in crazy modern fabrics like silicone and cellophane (another nod to Chicago?). The makeup was muted as these models were working dancers, their hair tied up in cashmere 'do rags and "sweatband cloches." Speaking of working, there were also chambray looks to get down and dirty in and pops of gingham and plastic cowboy boots that picked up on whole barn thing.

It was the fabrics that shone--literally. Cellophane shimmered and lame and sequins sparkled. It was a collection that proved that this designer is ready to take the reigns at Dior. We can't wait to see what happens.

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Marc Jacobs is still the most exciting show at New York Fashion Week--I smiled the whole way through (and that's a feat to get an editor to smile after working five 15+ hour days in a row).
For fall, Jacobs converted the Lexington Armory into a broken down Tim Burton-esque dream world of decaying castles and twisted turrets. According to New York, Jacobs' approached sculptor Rachel Feinstein to design the set because he liked a piece she had done called Puritan's Delight. He told her that his clothes were "starting to remind him of pilgrims, and kind of widows." He told Feinstein that he wanted "no castles, no fairytales," but "grottoes...the Marie Antoinette version of a ruin." And that was just the set.
Here are the references that come to mind after taking in the collection: Dr. Seuss, the musical Oliver! (the soundtrack was comprised of variations on the soaring "Who Will Buy" from Oliver!, and yes, one model walked with a red rose as in "Who will buy my sweet red roses"), and pilgrims--of the 1600s Plymouth Rock Puritan variety. If Dr. Suess, Oliver's street urchins, and pilgrims aren't things that sound like they go together but somehow do, then you know you're at a Marc Jacobs show.

There was more anticipation than usual leading up to last night's Marc by Marc show, held at the time slot originally intended for Marc Jacobs's collection show, which was postponed after materials got stuck overseas due to the blizzard. Perhaps we were all eager for any Marc Jacobs by day five of fashion week, and "little" Marc would have to tide us over until Thursday's "big" Marc show.
And, of course, Jacobs delivered.

Pared down. Stripes. Mod. Black and white. No pants. Whereas last season Marc Jacobs dazzled with an elaborate Rachel Feinstein-designed set and a pilgrims-meets-Dr. Suess-meets Jamiroquai collection, for spring 2013 he stripped it down. He even stripped the pants off his models in several instances.

It was weird to walk into the Lexington Avenue armory and see a straightforward runway set for Marc by Marc Jacobs--no evidence was left of Rachel Feinstein's magical set for Marc Jacobs' show the night before. A the same time it made Marc Jacobs' show feel that much more magical and fleeting.
Jacobs' collection for his contemporary line, Marc by Marc, made much less of an impact than his RTW collection--no ginormous brightly colored fur Jamiroquai hats here--but the clothes were wearable (and comfortable looking!) and hipster friendly. Many of the models were styled a la Jenna Lyons with thick framed glasses wearing Daria-esque loose day dresses in vibrant prints. Blazers and knits were worn over knee-length pleated school girl skirts (these were not of the slutty cheerleader variety).